DOI Heft:
No. 73 (April 1899)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19231#0213
Sttidio- Talk
logical order so that the development of the artist's
power and the evolution of his ideas are easily
followed; and the different phases of thought
through which he passed are most instructively
illustrated. That it should have been possible to
gain such a result without the assistance of other
collectors speaks volumes for the resources of the
Print Room from which the material for the
exhibition has been drawn, and proves how rich
the Museum is in artistic treasures. Not only the
Rembrandt etchings, but the fascinating group of
his drawings as well, and the numerous examples
of etchings by his contemporaries which, by their
presence in the gallery, give opportunities for
interesting comparison, come from the national
collection. It seems a pity that such a demonstra-
tion of the importance of the Museum accumula-
tions cannot be made permanent.
The reproduction of the design by Mr. C.
Harrison Townsend for the new Whitechapel Art
Gallery is sufficient to show that the East End is to
FIREPLACE DESIGNED BY A. HAROLD SMITH , . , , , . .
be enriched by an extremely original and strik-
ing specimen of nineteenth century architecture,
■exhibition which opened in the British Museum at While eschewing any positive historical style,
the beginning of last month will long be gratefully Mr. Townsend has succeeded in being thoroughly
remembered by art lovers. It is not often that architectural, not to say monumental, in his
they have such an opportunity of studying a series design. Particularly interesting is his bold em-
•of examples which represents with something like ployment of mosaic as the essential feature of his
completeness the life-long effort of one of the elevation. When this fine design of Mr. Walter
greatest masters of etching that the world has ever Crane's is completed, it will form the most impor-
seen; and rarely has a show been arranged with tant piece of exterior mosaic in the country. The
better appreciation of those details which can make flat conventional treatment of the design demanded
■or mar the educational value of a notable collec- by the material seems singularly well adapted to Mr.
tion. The various works are hung in chrono- Crane's peculiar style and artistic characteristics,
196
logical order so that the development of the artist's
power and the evolution of his ideas are easily
followed; and the different phases of thought
through which he passed are most instructively
illustrated. That it should have been possible to
gain such a result without the assistance of other
collectors speaks volumes for the resources of the
Print Room from which the material for the
exhibition has been drawn, and proves how rich
the Museum is in artistic treasures. Not only the
Rembrandt etchings, but the fascinating group of
his drawings as well, and the numerous examples
of etchings by his contemporaries which, by their
presence in the gallery, give opportunities for
interesting comparison, come from the national
collection. It seems a pity that such a demonstra-
tion of the importance of the Museum accumula-
tions cannot be made permanent.
The reproduction of the design by Mr. C.
Harrison Townsend for the new Whitechapel Art
Gallery is sufficient to show that the East End is to
FIREPLACE DESIGNED BY A. HAROLD SMITH , . , , , . .
be enriched by an extremely original and strik-
ing specimen of nineteenth century architecture,
■exhibition which opened in the British Museum at While eschewing any positive historical style,
the beginning of last month will long be gratefully Mr. Townsend has succeeded in being thoroughly
remembered by art lovers. It is not often that architectural, not to say monumental, in his
they have such an opportunity of studying a series design. Particularly interesting is his bold em-
•of examples which represents with something like ployment of mosaic as the essential feature of his
completeness the life-long effort of one of the elevation. When this fine design of Mr. Walter
greatest masters of etching that the world has ever Crane's is completed, it will form the most impor-
seen; and rarely has a show been arranged with tant piece of exterior mosaic in the country. The
better appreciation of those details which can make flat conventional treatment of the design demanded
■or mar the educational value of a notable collec- by the material seems singularly well adapted to Mr.
tion. The various works are hung in chrono- Crane's peculiar style and artistic characteristics,
196